Fyodor Tyutchev is a poet and philosopher, therefore the basis of his poems is a reflection on the world, on the place of man in this world, on life and death. He represents nature in constant motion, majestically beautiful and solemnly tragic. A person against its background appears as a small, insignificant particle.

So, in the poem “Spring Thunderstorm”, the poet, it would seem, describes a picture familiar to any eye: thunder, thunderstorm, rain ... But in the last quatrain Tyutchev offers to look at this a natural phenomenon from a different angle:

You say: windy Hebe,

Feeding Zeus' eagle

A thundering cup from the sky

Laughing, she spilled it on the ground.

These lines make you think about the significance of the spring thunderstorm on the scale of the universe.

Perhaps this is just a joke of the gods? But if the whole element is only a small part of something more majestic, then what place does a person occupy in this world?

Another example is the poem "Noon". It describes a hot summer afternoon. The serene, "lazy" state of "drowsiness" evokes sleep. But again, at the end of the poem, there is an indication of the place of man in this world:

And now the great Pan himself

In the cave the nymphs doze peacefully.

No one, not even the "great Pan", is able to resist the forces of nature.

Another poem - "The kite rose from the clearing ...". Here the lyrical hero admires the bird's natural ability to fly: "Mother nature gave him / Two powerful, two living wings." As a result, the lyrical hero opposes himself to the kite: “And here I am in sweat and dust. / I, the king of the earth, have grown to the earth!..” Despite the fact that the kite feeds on carrion, it can fly, and a person, having proclaimed himself “king of the earth”, cannot have such an ability.

Thus, we see that the world of nature in the perception of the lyrical hero of Tyutchev's poems appears majestic and incomprehensible. A person in this world is a grain of sand.

1. The origins of the formation of Tyutchev's poetry.
2. Bifurcation of the world of the lyrical hero.
3. Chaos and Cosmos as the basis of the world.
4. Loneliness of the hero in the world.
Tyutchev's poetry cannot be attributed to any particular period in the development of Russian literature. He became an original poet as early as the 1830s, but readers learned about his poetry only in the 1850s. Researchers of Tyutchev's legacy believe that in spirit his poetry anticipated the work of Dostoevsky and Tolstoy. He was concerned about those problems that later interested Russian novelists. Researcher Berkovsky believed that Tyutchev's worldview was formed under the influence of two poles of world history. Old social ties collapsed, a new world order was born. Tyutchev felt that modern European society is on the eve of grandiose historical upheavals. These feelings and reflections of the poet were reflected in his work, leaving an imprint on the lyrical hero and his worldview. The world of the lyrical hero in Tyutchev's poetry is also bifurcated, unstable. But in Tyutchev's lyrics, this confrontation, the destruction of the old and the construction of the new are given more deeply, these ideas are brought to a philosophical level. In the lyrics of Tyutchev, there is a conflict of confrontation and the eternal reunion of nature and man. The poet writes about such global concepts as Cosmos and Chaos, which are creative and destructive principles that rule over the world. Tyutchev feels himself a particle of the world, and he considers all the feelings and moods of a person to be manifestations of cosmic being as such. wholeness of life, physical phenomena were perceived by him as a manifestation of nature itself, the cosmos, "as the state and action of a living soul." Nature for him is a bunch of living passions, forces, feelings. In Tyutchev's lyrics there is always duality, struggle, conjugation of various principles. A vivid example of this is the poem "Day and Night". Day and night are symbols of two different elements of the cosmos, light and dark, which Tyutchev calls "chaos", the personification of the "nameless abyss".
The struggle between the ideal and the demonic exists not only in nature, but constantly takes place in the human soul itself.
The will to die (“Suicide”) and the will to live (“Love”) are equally attractive to a person. The most important topic for Tyutchev is the chaos contained in the universe, this is an incomprehensible secret that nature hides from man. Tyutchev perceived the world as an ancient chaos, as a primordial element. And everything visible, existing is only a temporary product of this chaos. This is connected with the poet's appeal to the "darkness of the night". It is at night when a person is left alone in front of eternal peace, he acutely feels himself on the edge of the abyss and is especially intensely experiencing the tragedy of his existence. Chaos in Tyutchev's poetry is a threat of annihilation, an abyss through which it is necessary to pass in order to achieve complete merging with the cosmos. Anguish, covering when meeting with incomprehensible manifestations of chaos - sadness and horror of death, fear of destruction, although bliss is achieved in overcoming them.

A person feels split, insecure in the world of Chaos and Cosmos, not only because of the constant confrontation of these two elements. It is not easy for him to determine his place in Nature, it is difficult to express his attitude to the world. "ZPepPit" is a philosophical poem, the main idea of ​​which is the endless loneliness of man. Man is powerless before the omnipotence of nature. Tyutchev comes to the conclusion about the insufficiency of all human knowledge. A person cannot express his soul, convey his thoughts to another. "Approximation", the rudeness of human words in comparison with the depth of the spiritual world dooms a person to loneliness. The poet concludes that the human word is powerless: "A thought uttered is a lie."
Tyutchev's thoughts about the world, life, man are deep and often sad. The poet seeks, first of all, to show the world human soul to realize whether there is any meaning in existence. In Tyutchev's lyrics, there is often a contrast between "eternal" and "instantaneous", always resurgent nature and short human life. But at the same time as the insignificance of individual being, Tyutchev also feels its colossality: “I, the king of the earth, have grown to the earth”, “Across the heights of creation, like God, I walked ...”. Such duality is generally characteristic of the poet. For him, every poetic concept has a wrong side: harmony - chaos, love - death, faith - unbelief. A person is always between heaven and earth, between day and night, "on the threshold of dual existence." The soul is always a “resident of two worlds”.
Tyutchev always tried to determine the meaning of being. At first, for Tyutchev, a person is only a part of a huge universe, a tiny chip on the waves of the ocean, a wanderer driven by unquenched longing. Later, the poet begins to be disturbed by the consciousness of the "uselessness" of life. Then, already in the late Tyutchev, there is confidence in the need for a man to fight fate. This battle is unequal, "fatal", but it is inevitable, because, perhaps, only it justifies the life of a person, a tiny grain of the universe.
The fight between Cosmos and Chaos is most noticeable not in nature, but in public life man, his soul. The rebellious waves that splashed in Europe at that time led the poet to just such thoughts. The poet believed that the new world order gives rise to chaotic elements in people. Modern civilization, in his opinion, is not able to highlight the spiritual depths of a person, his subconscious, deep, remains unknown, chaotic.
Such an understanding of modern reality and philosophical knowledge of the elements that rule the world created the image of a lyrical hero with a tragic, divided worldview.

Composition

The outstanding Russian lyric poet Fyodor Ivanovich Tyutchev was in all respects the opposite of his contemporary and almost the same age as Pushkin. If Pushkin received a very deep and fair definition of the sun of Russian poetry, then Tyutchev is a night poet. Although Pushkin published in his Sovremennik in Last year life a large selection of poems then unknown to anyone, who was in the diplomatic service in Germany, the poet, it is unlikely that he liked them very much. Although there were such masterpieces as Vision, Insomnia, How the ocean surrounds the globe, The Last Cataclysm, Cicero, What are you howling about, the night wind, Pushkin was alien, first of all, to the tradition on which Tyutchev relied: German idealism, to which Pushkin remained indifferent , and poetic archaism of the XVIII early XIX century (primarily Derzhavin), with which Pushkin waged an irreconcilable literary struggle.

We get acquainted with Tyutchev's poetry in primary school, these are poems about nature, landscape lyrics. But the main thing for Tyutchev is not the image, but the comprehension of nature, philosophical lyrics, and his second theme is the life of the human soul, the intensity of love feelings. The unity of his lyrics is given an emotional tone by a constant, vague anxiety, behind which stands a vague, but unchanging feeling of the approach of the universal end.

Along with emotionally neutral landscape sketches, Tyutchev's nature is catastrophic and its perception is tragic. Such are the poems Insomnia, Vision, The last cataclysm, How the ocean embraces the globe, What are you howling about, the night wind ... At night, the waking poet opens his inner prophetic vision, and behind the peace of daytime nature he sees the element of chaos, fraught with catastrophes and cataclysms. He listens to the universal silence of an abandoned, orphaned life (in general, the life of a person on earth for Tyutchev is a ghost, a dream) and mourns the approach of the universal last hour:

And our life is before us

Like a ghost, on the edge of the earth.

Oh, do not sing these terrible songs

About the ancient chaos, about the native!

The poet conjures the night wind, but continues the poem like this:

How greedily the world of the night soul

Heeds the story of his beloved!

Such a duality is natural: after all, in the human soul there are the same storms, under them (i.e. under human feelings) chaos stirs, the same dear as in the world environment.

The life of the human soul repeats and reproduces the state of nature, the thought of the poems of the philosophical cycle: Cicero, As over hot ashes, My soul is the Elysium of shadows, Not what you think, nature! .., Human tears, Wave and thought, Two voices. In the life of a person and society, the same storms, night, sunset, rock dominates (this is a poem by Cicero with the famous formula: Blessed is he who visited this world in its fatal moments). Hence the acute feeling of the end of being (As over hot ashes), the recognition of hopelessness (Two voices). It is impossible to express all this, and even more so to be understood and heard by people, in this Tyutchev follows the widespread romantic idea of ​​the fundamental incomprehensibility of the poet's insights to the crowd.

Just as catastrophic and disastrous for a person is love (Oh, how deadly we love, Predestination, Last love). Where does Tyutchev get all these fatal passions? They are determined by the era of great socio-historical cataclysms in which the poet lived and worked. Let us note that Tyutchev's creative activity falls at the turn of the 2030s, when revolutionary activity in Europe and Russia began to decline and the Nikolaev reaction was established, and at the end of the 40s, when a wave of bourgeois revolutions.

Let's analyze the poem I Lutherans love worship, dated September 16, 1834. What attracted the Orthodox Christian Tyutchev to the faith of German Protestants, followers of Martin Luther, the founder of the European Reformation. He saw in the atmosphere of their worship the situation of the universal end, so akin to his soul: Gathered on the road, for the last time you will have faith. Therefore, her house is so empty and bare (and in the first stanza of these bare walls, this temple is empty). At the same time, in this poem, Tyutchev expressed the meaning of any religion with amazing power: it prepares a person, his soul for the last departure. After all, death from a religious point of view is good: the soul returns to its divine womb, from which it left at birth. The Christian must be ready for this at any moment. He goes to God's temple in order to prepare the soul for this.

But the time has come, it has struck ...

Pray to God

The last time you pray is now.

The poet seeks, first of all, to show the world of the human soul, to realize whether there is any meaning in existence. In Tyutchev's lyrics, there is often an opposition between the eternal and the instantaneous, the always resurgent nature and the short human life. The poet perceives Infinity, Eternity not as a philosophical, speculative concept, but as a reality. In this Eternity, human life is only a short flash.

This is paradoxical, but at the same time as the insignificance of individual being, Tyutchev also feels its colossality: I, the king of the earth, rooted to the earth, I walked along the heights of creation, like God ... Such a duality is generally characteristic of a poet. For him, every poetic concept has a wrong side: harmony, chaos, love, death, faith, unbelief. Man is always between heaven and earth, between day and night, on the threshold of dual existence. The soul is always a dweller of two worlds.

Perhaps this perception of a person on the verge of two worlds explains Tyutchev's predilection for the image of sleep, a dream, where a person approaches the border of two different lives more than ever. The dream in the perception of the poet is also ambiguous. On the one hand, this is a certain form of existence, close to chaos (a frequent image of Tyutchev). In one of the poems, Dream is the twin of Death. On the other hand, a dream can be both fertile, and magical, and childishly beautiful.

The duality of Tyutchev was clearly manifested in the poem Dream on the Sea. He's writing:

... I, sleepy, was betrayed by all the whims of the waves.

Two infinities were in me,

And they arbitrarily played with me.

And in the same poem:

On the heights of creation, like God, I walked,

And the world under me motionless shone.

All these images-symbols not only speak of the existence of a person on the border of sleep and reality, peace and storm, but also show the huge role that a person plays in the universe. A strange combination, so characteristic of Tyutchev: he is subject to the whim of the waves and at the same time strides along the heights of creation.

Tyutchev never tired of saying that man is part of nature, its inseparable particle. At the same time, especially in his early work, he noticed that a person has a need to get away from the crowd, to retire in himself:

Only know how to live in yourself

There is a whole world in your soul...

This motif sounds again in the poem My Soul Elysium of Shadows... The soul is alienated from living life, the crowd, it lives on its own memories. Although this happens, it is not at all good for the poet. On the contrary, he strives precisely for living life (especially in the early lyrics):

No, my passion for you

I can not hide, mother earth!

If the early lyrics of Tyutchev are characterized by the opposition of the universe and the individual (a huge rock and a tiny grain of sand), then later the poet descends to the sinful earth, often not limited to speculative reasoning, but tracing human fate. A peculiar life philosophy begins to become clear: the more difficult, more doomed a person lives, the more he loves the earth. Doom, torment, sometimes even death, coexist with an inescapable love for the world. The radiant world in all its splendor appears in him even in the most tragic love poem. All day she lay in oblivion ... A woman (beloved woman) lies on her deathbed, and life continues outside the window.

Tyutchev is characterized by thoughts about death, about sorrows, about the joylessness of the human lot, about tears:

Human tears, oh human tears,

You pour early and late sometimes ...

All Tyutchev's poetry is permeated with the tragedy of a lonely existence, a split soul, disbelief, and often despair. But at the same time, the late Tyutchev more and more often sounds the motive of rebelliousness to fate, a thirst for struggle, outside of which life loses its justification:

Take courage, O friends, fight diligently,

Though the battle is unequal, the struggle is hopeless!

Yes, the struggle is hopeless, but we must fight!

This may be the only meaning of existence.

The contrast of Tyutchev's lyrics lies, on the one hand, in his intoxication with life, a sense of joy, the uniqueness of being, on the other hand, in the awareness of the transience of life, in perceiving it as something ghostly, a shadow from smoke (not even smoke, only shadows!). These contradictions constitute the life philosophy of the poet, two views on life merge into a single perception of reality.

Tyutchev always tried to determine the meaning of being. The older he became (in a poetic and human sense), the more often he associated with a person the image of a struggle, a desperate battle. At first, for Tyutchev, a person is only a part of a huge universe, a tiny chip on the waves of the ocean, a wanderer driven by unquenched longing. Later, the poet begins to be disturbed by the consciousness of the futility of life. Then, already in the late Tyutchev, there is confidence in the need for a man to fight fate. This battle is unequal, fatal, but it is inevitable, because, perhaps, only it justifies the life of a person, a tiny grain of the universe.

Tyutchev and Fet, who determined the development of Russian poetry of the second half of XIX century, entered literature as poets of “pure art”, expressing in their work a romantic understanding of the spiritual life of man and nature. Continuing the traditions of Russian romantic writers of the first half of the 19th century (Zhukovsky and early Pushkin) and German romantic culture, their lyrics were devoted to philosophical and psychological problems.

A distinctive feature of the lyrics of these two poets was that it was characterized by a depth of analysis of the emotional experiences of a person. So, the complex inner world of the lyrical heroes of Tyutchev and Fet is in many ways similar.

Lyrical hero- this is the image of that hero in a lyrical work, whose experiences, thoughts and feelings are reflected in it. It is by no means identical to the image of the author, although it reflects his personal experiences associated with certain events in his life, with his attitude to nature, social activities, people. The peculiarity of the poet's worldview, worldview, his interests, character traits find a corresponding expression in the form, in the style of his works. The lyrical hero reflects certain character traits people of their time, their class, exerting a huge influence on the formation spiritual world reader.

As in the poetry of Fet and Tyutchev, nature combines two planes: externally landscape and internally psychological. These parallels turn out to be interconnected: description organic world smoothly turns into a description of the inner world of the lyrical hero.

Traditional for Russian literature is the identification of pictures of nature with certain moods of the human soul. This technique of figurative parallelism was widely used by Zhukovsky, Pushkin, Lermontov. The same tradition was continued by Fet and Tyutchev.

So, Tyutchev uses the method of personifying nature, which the poet needs to show the inseparable connection between the organic world and human life. Often his poems about nature contain reflections on the fate of man. landscape lyrics Tyutchev acquires a philosophical content.

For Tyutchev, nature is a mysterious interlocutor and constant companion in life, understanding him best of all. In the poem “What are you howling about, night wind?” (early 30s) the lyrical hero turns to the world of nature, talks with him, enters into a dialogue that outwardly takes the form of a monologue:

In a language understandable to the heart

You keep talking about incomprehensible flour -

And dig and explode in it

Sometimes violent sounds! ..

Tyutchev does not have a “dead nature” - it is always full of movement, imperceptible at first glance, but in fact continuous, eternal. The organic world of Tyutchev is always many-sided and varied. It is presented in constant dynamics, in transitional states: from winter to spring, from summer to autumn, from day to night:

Shades of gray mixed,

The color faded, the sound fell asleep -

Life, movements resolved

In the unsteady dusk, in the distant rumble...

(“Shadows of gray mixed”, 1835)

This time of day is experienced by the poet as “an hour of inexpressible longing”. The desire of the lyrical hero to merge with the world of eternity is manifested: “Everything is in me and I am in everything.” The life of nature fills the inner world of man: an appeal to the origins of the organic world should regenerate the whole being of the lyrical hero, and everything perishable and transient should go by the wayside.

The technique of figurative parallelism is also found in Fet. Moreover, most often it is used in a hidden form, relying primarily on associative connections, and not on an open comparison of nature and the human soul.

This technique is very interestingly used in the poem “Whisper, timid breathing ...” (1850), which is built on the same nouns and adjectives, without a single verb. Commas and exclamation points also convey the splendor and tension of the moment with realistic concreteness. This poem creates a dotted image, which, when viewed closely, gives chaos, “a series of magical changes”, and in the distance - an accurate picture. Fet, as an impressionist, bases his poetry, and, in particular, the description of love experiences and memories, on the direct fixation of his subjective observations and impressions. Condensation, but not mixing, of colorful strokes gives the description of love experiences sharpness and creates the utmost clarity of the image of the beloved. Nature in the poem appears as a participant in the life of lovers, helps to understand their feelings, giving them special poetry, mystery and warmth.

However, dating and nature are not just described as two parallel world- the world of human feelings and natural life. The innovation in the poem was that both nature and the date are shown as a series of fragmentary dates, which the reader himself must link into a single picture.

At the end of the poem, the portrait of the beloved and the landscape merge into one: the world of nature and the world of human feelings are inextricably linked.

However, in the depiction of nature, Tyutchev and Fet also have a profound difference, which was due primarily to the difference in the poetic temperaments of these authors.

Tyutchev is a poet-philosopher. It is with his name that the current of philosophical romanticism, which came to Russia from German literature, is associated. And in his poems, Tyutchev seeks to understand nature, including its system of philosophical views, turning it into part of his inner world. This desire to fit nature into the framework human consciousness Tyutchev's passion for personification was dictated. So, in the poem spring waters"streams" run and sparkle and speak.

However, the desire to understand, comprehend nature leads the lyrical hero to the fact that he feels cut off from her; therefore, in many of Tyutchev's poems, the desire to dissolve in nature, “to merge with the beyond” (“What are you howling about, night wind?”) Sounds so vividly.

In a later poem, "Grey-gray shadows mingled ..." this desire comes through even more clearly:

Silent dusk, sleepy dusk,

Lean into the depths of my soul

Quiet, dark, fragrant,

All pour and comfort.

So, an attempt to solve the mystery of nature leads the lyrical hero to death. The poet writes about this in one of his quatrains:

Nature is a sphinx. And the more she returns

With his temptation, he destroys a person,

What, perhaps, no from the century

There is no riddle, and there was none.

In the later lyrics, Tyutchev realizes that man is a creation of nature, her fiction. Nature is seen by him as chaos, which inspires fear in the poet. Reason has no power over her, and therefore, in many of Tyutchev's poems, an antithesis of the eternity of the universe and the transience of human existence appears.

The lyrical hero Fet has a completely different relationship with nature. He does not seek to “rise” above nature, to analyze it from the standpoint of reason. The lyrical hero feels himself an organic part of nature. In Fet's poems, the sensory perception of the world is conveyed. It is the immediacy of impressions that distinguishes Fet's work.

For Fet, nature is a natural environment. In the poem “The night shone, the garden was full of moon ...” (1877), the unity of human and natural forces is felt most clearly:

The night shone. The garden was full of moon, lay

Beams at our feet in a living room with no lights.

The piano was all open, and the strings in it were trembling,

Like our hearts for your song.

The theme of nature in these two poets is connected with the theme of love, thanks to which the character of the lyrical hero is also revealed. One of the main features of Tyutchev's and Fetov's lyrics was that it was based on the world of spiritual experiences. loving person. Love in the understanding of these poets is a deep elemental feeling that fills the whole being of a person.

The lyrical hero Tyutchev is characterized by the perception of love as a passion. In the poem “I knew the eyes, - oh, these eyes!” this is realized in verbal repetitions (“passionate night”, “passion depth”). For Tyutchev, minutes of love - “ wonderful moments”, which bring meaning to life (“In my incomprehensible gaze, exposing life to the bottom ...”).

This poet compares life with the “golden time”, when “life spoke again” (“KV”, 1870). For the lyrical hero Tyutchev, love is a gift sent from above, and some magical power. This can be understood from the description of the image of the beloved.

In the poem “I knew the eyes, - oh, these eyes!” what matters is not the emotions of the lyrical hero, but the inner world of the beloved. Her portrait is a reflection of spiritual experiences.

He breathed (look) sad, in-depth,

In the shadow of her thick eyelashes,

Like pleasure, weary

And, like suffering, fatal.

The appearance of the lyrical heroine is shown not as really reliable, but as the hero himself perceived it. Only eyelashes are a specific detail of the portrait, while adjectives are used to describe the gaze of the beloved, conveying the feelings of the lyrical hero. Thus, the portrait of the beloved is psychological.

Fet's lyrics were characterized by the presence of parallels between natural phenomena and love experiences (“Whisper, timid breathing ...”). 366

In the poem “The night shone. The garden was full of moon...” the landscape smoothly turns into a description of the image of the beloved: “You sang until dawn, exhausted in tears, that you are alone - love, that there is no other love.”

So, love fills the life of a lyrical hero with meaning: “you are alone - your whole life”, “you one Love". All worries, in comparison with this feeling, are not so significant:

There are no insults of fate and hearts of burning flour,

And life has no end, and there is no other goal,

As soon as you believe in sobbing sounds,

Love you, hug and cry over you!

Tyutchev's love lyrics are characterized by a description of events in the past tense ("I knew the eyes - oh, these eyes!", "I met you - and all the past ..."). This means that the poet is aware of the feeling of love as long gone, so his perception is tragic.

In the poem "K. B.” the tragedy of love is expressed in the following. The time of falling in love is compared to autumn:

Like late autumn sometimes

There are days, there are hours

When it suddenly blows in the spring

And something stirs in us...

In this context, this time of year is a symbol of doom and doom. high feeling.

The same feeling fills the poem “Oh, how deadly we love!” (1851), included in the "Denisiev cycle". The lyrical hero reflects on what the “duel of the fatal two hearts” can lead to:

Oh, how deadly we love!

As in the violent blindness of passions

We are the most likely to destroy

What is dearer to our heart! ..

The poem “Last Love” (1854) also fills the tragedy. The lyrical hero here realizes that love may be disastrous: “Shine, shine, the farewell light of last love, the dawn of the evening!”. And yet the feeling of doom does not interfere a lyrical hero to love: “Let the blood in the veins dwindle, but tenderness does not dwindle in the heart ...” In the last lines, Tyutchev succinctly characterizes the feeling itself: “You are both bliss and hopelessness.”

However, Fet's love lyrics are also filled with not only a sense of hope and hope. She is deeply tragic. The feeling of love is very contradictory; it is not only joy, but also torment, suffering.

The poem “Do not wake her at dawn” is all filled with a double meaning. At first glance, a serene picture of the morning dream of the lyrical heroine is shown, but already the second quatrain communicates tension and destroys this serenity: “And her pillow is hot, and her tiring dream is hot.” The appearance of epithets such as "tiring sleep" does not indicate serenity, but a painful state close to delirium. Further, the reason for this state will be explained, the poem is brought to a climax: “She became paler and paler, her heart beat more and more painfully.” The tension grows, and the last lines completely change the whole picture: “Don’t wake her up, don’t wake her up, at dawn she sleeps so sweetly.” The end of the poem presents a contrast with the middle and brings the reader back to the harmony of the first lines.

Thus, the perception of love by the lyrical hero is similar for both poets: despite the tragedy of this feeling, it brings meaning to life. Tragic loneliness is inherent in the lyrical hero of Tyutchev. In the philosophical poem “Two Voices” (1850), the lyrical hero takes life as a struggle, a confrontation. And “even though the fight is unequal, the fight is hopeless”, the fight itself is important. This striving for life permeates the entire poem: “Be of good cheer, fight, O brave friends, no matter how hard the battle is, how hard the fight is!” The poem “Cicero” (1830) is imbued with the same mood.

In the poem “Zershit” (1830), which touches on the theme of the poet and poetry, the lyrical hero understands that he will not always be accepted by society: “How can the heart express itself? How can someone else understand you? The world of spiritual experiences of the hero turns out to be important here: “Only know how to live in yourself - there is a whole world in your soul.”

The lyrical hero Fet's worldview is not so tragic. In the poem “With one push to drive away the living boat” (1887), the lyrical hero feels himself a part of the Universe: “Give life a sigh, give sweetness to secret torments, instantly feel someone else’s own.” The contradiction with the outside world here is only external (an oxymoron of “unknown, dear”). “Flowering shores” and “other life” are a description of that mysterious ideal world from which inspiration comes to the poet. Rationally this world is unknowable because it is "unknown"; but, meeting with manifestations of it in everyday life, the poet intuitively feels kinship with the “unknown”. The refined susceptibility of the poet in relation to the phenomena of the external world cannot but spread to other people's work. The ability for creative empathy is the most important feature of a true poet.

In the poem “The cat sings, his eyes narrowed” (1842), Fet does not depict objects and emotional experiences in their causal relationship. For the poet, the task of constructing a lyrical plot, understood as a sequence of mental states of the lyrical “I”, is replaced by the task of recreating the atmosphere. The unity of world perception is conceived not as a completeness of knowledge about the world, but as a set of experiences of a lyrical hero:

The cat sings, squinting his eyes,

The boy is napping on the carpet

A storm is playing outside

The wind is whistling in the yard.

So, the lyrical hero Fet and the lyrical hero Tyutchev perceive reality differently. The lyrical hero Fet has a more optimistic attitude, and the idea of ​​loneliness is not brought to the fore.

So, the lyrical heroes of Fet and Tyutchev have both similar and different features, but the psychology of each is based on a subtle understanding of the natural world, love, as well as awareness of one's fate in the world.

The work of Fyodor Ivanovich Tyutchev is a brilliant page of Russian poetry of the 19th century. Tyutchev wrote about human feelings, about nature, about Russia. In his poems, the lyrical hero appears as a man capable of strong feelings, tender, sincere. The lyrical hero in Tyutchev's poetry is a double of the poet himself, he often reflects his thoughts and feelings. This is especially evident in love lyrics.

Tyutchev's love is huge and all-encompassing, it captures the whole person. But it is tragic, because such love cannot exist in this world. Therefore, the lyrical hero is unhappy. In his life there is a lot of suffering, loss, grief and separation. Separations are inevitable, because love blinds a person, and when time passes, he realizes that the object of love is far from ideal.

In separation there is a high meaning:

No matter how you love, at least one day, at least a century,

Love is a dream, and a dream is a moment,

And early or late, or awakening,

And the man must finally wake up...

The contradictions of the lyrical hero prevent him from being happy. But even more often he himself invents suffering.

Like an unsolved mystery

Living charm breathes in it -

We watch with anxious trepidation

Into the quiet light of her eyes.

Is there an earthly charm in it,

Or heavenly grace?

The soul would like to pray to her,

And the heart is torn to adore ...

Lyrica F.I. Tyutcheva is mysterious and incomprehensible. His poems are melodic, their form is perfected. Poems about nature are especially striking: they are harmonious, perfect, time has no power over them.

There is melodiousness in the waves of the sea,

Harmony in natural disputes,

And a slender Musiki rustle

It flows in unsteady reeds.

An imperturbable system in everything,

Consonance is complete in nature, -

Only in our ghostly freedom

We are aware of our discord.

When the last hour of nature strikes,

The composition of the parts will be broken earthly:

Everything visible will again be covered by water,

And God's face will be depicted in them!

In poems about nature, we see a subtle perception of the beauty of the world, we feel smells, colors, we hear sounds. Tyutchev masterfully draws pictures of nature: he draws our attention to something special, bright, he knows how to bring natural phenomena closer to us, to convey heavenly harmony. In nature, he sees the struggle of opposites and shows us that harmony arises from this. The lyrical hero is responsive to everything that happens in the world around him. For him and for the author, nature is part of the Motherland.